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This monograph centres on the history of musical theatre in a space of cultural significance for British identity, namely the Theatre Royal, Drury Lane, which housed many prominent American productions from 1920-1970. It argues that during this period Drury Lane was the site of cultural exchanges between Britain and the United States that were a direct result of global engagement in two world wars and the evolution of both countries as imperial powers. The critical and public response to works of musical theatre during this period, particularly the American musical, demonstrates the shifting response by the public to global conflict, the rise of an American Empire in the eyes of the British government, and the ongoing cultural debates about the role of Americans in British public life. By considering the status of Drury Lane as a key site of cultural and political exchanges between the United States and Britain, this study allows us to gain a more complete portrait of the musical’scultural significance in Britain. Dr. Arianne Johnson Quinn is an archivist, librarian, and scholar. She is currently the Music Special Collections Librarian at the Warren D. Allen Music Library, Florida State University, USA. She holds a Ph.D. in Musicology from Princeton University, and has worked as Digital Archivist and Research Associate for the Noël Coward Archive Trust. Arianne has been on the faculty of the Florida State Honors Program, South Georgia State College and Tallahassee Community College. Her research focuses on the intersections between the American and British musical in London’s West End from 1920-1970, particularly the works of Noël Coward, Kurt Weill, Lerner and Loewe, Irving Berlin, Cole Porter and Rodgers and Hammerstein. .

Theater --- Musical theater. --- Cultural industries. --- Theater. --- Theatre History. --- Music Theatre. --- Theatre Industry. --- Global and International Theatre and Performance. --- Theatre Direction and Production. --- History. --- Production and direction.

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In the Anthropocene, icy environments have taken on a new centrality and emotional valency. This book examines the diverse ways in which ice and humans have performed with and alongside each other over the last few centuries, so as to better understand our entangled futures. Icescapes – glaciers, bergs, floes, ice shelves – are places of paradox. Solid and weighty, they are nonetheless always on the move, unstable, untrustworthy, liable to collapse, overturn, or melt. Icescapes have featured – indeed, starred – in conventional theatrical performances since at least the eighteenth century. More recently, the performing arts – site-specific or otherwise – have provoked a different set of considerations of human interactions with these non-human objects, particularly as concerns over anthropogenic warming have mounted. The performances analysed in the book range from the theatrical to the everyday, from the historical to the contemporary, from low-latitude events in interior spaces to embodied encounters with the frozen environment.

Performing arts. --- Theater—Production and direction. --- Theater. --- Performing Arts. --- Theatre Direction and Production. --- Contemporary Theatre. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Show business --- Arts --- Performance art

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This book explores an unacknowledged gap in theatre study and praxis, and establishes an inceptive model for transforming a playscript into a theatrical production involving deaf and hearing artists. The book stipulates that theatrical productions of this nature should strive to go beyond accessibility towards inclusivity by considering deaf perspectives at every stage of the process: When deaf actors are cast in roles assumed to be hearing, how does this change the world of the play? How does the inclusion of a visual language affect staging decisions? How can truly equal access to two different language modalities be achieved for diverse production teams and audiences? Because deaf artists should be involved in the leadership and creative decision making throughout the process, this book is co-written by a deaf and hearing team. The main topics of the book include pre-production preparation, the rehearsal process, and performance. As deaf theatre artists move increasingly into the foreground, it’s time for the hearing theatre world to learn how to undertake productions that successfully bridge the deaf and hearing worlds. By including the perspective of directors, actors, designers, and audience members, this guide lays out an ideal process towards achieving that goal. Andy Head (hearing) is Assistant Professor of Theatre at Rochester Institute of Technology, USA. He completed his MFA in Acting at Michigan State University and directs integrated deaf/hearing productions for RIT/NTID. Recent directing credits include Cabaret (2018), I and You (2019), She Kills Monsters: Virtual Realms (2021), Angels in America: Millennium Approaches (2021), Everybody (2022), and Thy Name is Woman (2023). His articles, “Equal Prominence: Directing a Deaf and Hearing Production of I and You” and “The Compositor: How Hybrid Productions Will Create a New Job Title in Theatre” both appeared in the scholarly, peer-reviewed journal Theatre/Practice. Head’s research interests lie in creating productions that offer equal accessibility to deaf, hard of hearing, and hearing actors and audience members, as well as in the emerging field of digital theatre. Jill Marie Bradbury (deaf) is Professor and Director of the School of Theatre, Dance and Performance Studies, University of Maryland, College Park, USA.. She received her PhD in English from Brown University. Dr. Bradbury is a five-time National Endowment for the Arts grant-winner, including $25,000 for a DeafBlind Theater Institute. This project resulted in the documentary video, Protactile Romeo and Juliet: Theater by/for the DeafBlind and the collaborative essay “Protactile Romeo and Juliet: Theater by/for the DeafBlind” (Shakespeare Studies 47, 2019). Other relevant publications include “Deaf Theater” (Oxford Research Encyclopedia of Literature, 2024), “Disability Embodiment and Inclusive Aesthetics” (Inclusive Shakespeares: Identity, Pedagogy, Performance, 2023) and “Audiences, American Sign Language, and Deafness in Shakespeare Performance” (Shakespeare Bulletin 40.1, 2022). .

Theater --- Theater for deaf people. --- Deaf actors. --- Production and direction. --- Casting. --- Actors. --- Cultural industries. --- Theater. --- Theatre Direction and Production. --- Contemporary Theatre and Performance. --- Performers and Practitioners. --- Theatre Industry. --- History.

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This book theorizes auteur Robert Lepage’s scenography-based approach to adapting canonical texts. Lepage’s technique is defined here as ‘scenographic dramaturgy’, a process and product that de-privileges dramatic text and relies instead on evocative, visual performance and intercultural collaboration to re-envision extant plays and operas. Following a detailed analysis of Lepage’s adaptive process and its place in the continuum of scenic writing and auteur theatre, this book features four case studies charting the role of Lepage’s scenographic dramaturgy in re-‘writing’ extant texts, including Shakespeare’s Tempest on Huron-Wendat territory, Stravinsky’s Nightingale in a twenty-seven ton pool, and Wagner’s Ring cycle via the infamous, sixteen-million-dollar Metropolitan Opera production. The final case study offers the first interrogation of Lepage’s twenty-first century ‘auto-adaptations’ of his own seminal texts, The Dragons’ Trilogy and Needles & Opium. Though aimed at academic readers, this book will also appeal to practitioners given its focus on performance-making, adaptation and intercultural collaboration.

Culture --- Cultural and Media Studies. --- Contemporary Theatre. --- Theatre Direction and Production. --- Performers and Practitioners. --- Cultural studies --- Study and teaching. --- Lepage, Robert, --- Criticism and interpretation. --- Theater. --- Theater—Production and direction. --- Actors. --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Theater --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors

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"This is the first book on debbie tucker green and is likely to remain the definitive and authoritative study of this major playwright and director for decades to come. Essays across the volume provide fresh methodologies for analysing not only tucker green’s theatre, but theatre at large, by engaging with Kamau Brathwaite and Tricia Rose on Caribbean musicality, Henry Louis Gates Jr on black meaning-making, Sara Ahmed and María Lugones on aggression as resistance to injustice, and Homi K. Bhabha and Stuart Hall on hybrid identities. The essays make a convincing case for tucker green as the most important artist and most dedicated human rights activist on the stage today." - Professor Clare Finburgh Delijani, Goldsmiths University of London, UK This long-awaited book is the first full-length study of the work of the extraordinary contemporary black British playwright, debbie tucker green. Covering the period from 2000 (Two Women) to 2017 (a profoundly affectionate, passionate devotion to someone (-noun)), it offers scholars and students the opportunity to engage in cutting-edge critical debate engendered by tucker green’s innovative dramatic works for stage, television, and radio. This groundbreaking book includes contributions by a range of outstanding scholars, including black playwriting specialists, world-leading contemporary theatre scholars and some of the very best emerging researchers in the field. While always focused on the precision and detail of tucker green’s work, this book simultaneously reframes broader debates around contemporary drama and its politics, poses new questions of theatre, and provokes scholarly thinking in ways that, however obliquely, contribute to the change for which the plays agitate. Dr Siân Adiseshiah is Senior Lecturer in English and Drama at Loughborough University. Her previous books include (co-edited with Louise LePage) Twenty-First Century Drama: What Happens Now (Palgrave, 2016); (co-edited with Rupert Hildyard), Twenty-First Century Fiction: What Happens Now (Palgrave, 2014) and Churchill’s Socialism: Political Resistance in the Plays of Caryl Churchill (CSP, 2009). She is currently writing a monograph, Utopian Drama: In Search of A Genre. Dr Jacqueline Bolton is Senior Lecturer in Theatre and Drama at the University of Lincoln. She has contributed chapters on Simon Stephens and Joint Stock theatre company to Modern British Playwriting: Voices, Documents, New Interpretations: the 2000s (Methuen, 2013) and British Theatre Companies: From Fringe to Mainstream (Methuen, 2015), and articles on contemporary theatre-making to Studies in Theatre and Performance and Contemporary Theatre Review. She is currently writing a monograph on the plays of Simon Stephens.

Performing arts. --- Show business --- Arts --- Performance art --- Theater. --- Theater—Production and direction. --- Actors. --- Contemporary Theatre. --- Performing Arts. --- Theatre Direction and Production. --- National/Regional Theatre and Performance. --- Theatre Industry. --- Performers and Practitioners. --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Theater --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors